Academic Commons Search Resultshttp://academiccommons.columbia.edu/catalog.rss?f%5Bsubject_facet%5D%5B%5D=Film+studies&q=&rows=500&sort=record_creation_date+desc
Academic Commons Search Resultsen-usChinese Independent Films from 1987-2013: a filmography of 849 films organized by the director’s nameshttp://academiccommons.columbia.edu/catalog/ac:186212
Cheng, Jimhttp://dx.doi.org/10.7916/D8445KK6Fri, 22 May 2015 15:49:12 +0000A filmography of 849 Chinese independent films (produced from 1987-2013) organized by the director’s names 中国独立电影片目 1987-2013: 849部电影依据导演姓名拼音字母排列.Asian studies, Film studiesjc3685Starr East Asian Library, Libraries and Information ServicesReportsRecovering From Trauma in Paradise: Portrayals of Feminine Spatial Resistance in Top of the Lakehttp://academiccommons.columbia.edu/catalog/ac:185677
Rappoport, Rivka Nicholshttp://dx.doi.org/10.7916/D8ZW1JVWThu, 16 Apr 2015 00:00:00 +0000A police procedural on its face, Top of the Lake explores how gender and sexism complicate interactions from the professional to the personal. All three female protagonists fight to make room for themselves in Laketop, where powerful men on either side of the law collude in yachts stalled on the open water. Jane Campion utilizes the mise-en-scène to establish certain settings as masculine and others as feminine, priming the viewer to notice the subtle ways in which gender roles can complicate even simple exchanges. Each of the three women resists being overpowered by the men of Laketop through the occupation or invasion of space. Using the detailed construction of settings to reflect gender differences, the series is sensitive to the ways gender roles govern the lived experiences of both men and women, while enlarging these conflicts to fill the landscape’s epic scope.Film studiesrnr2119FilmReportsMan Meets God, Then Becomes Him: Human Transformation, and Transhuman Aspirations, in Ridley Scott’s Alien, Prometheus, and Blade Runnerhttp://academiccommons.columbia.edu/catalog/ac:185680
Lempit, Jessica Lillianhttp://dx.doi.org/10.7916/D8QC02DJThu, 16 Apr 2015 00:00:00 +0000Slick, advanced technology, strange or dystopian politics and the rich mysteries of space are the most common subjects of speculative or science fiction films. Transformation is typically achieved through engineering or complex socioeconomic systems. In Alien (1972), Blade Runner (1982) and Prometheus (2012), director Ridley Scott imagines earthier and perhaps more familiar future transformations: those of the human body in conversation and in conflict with technology and biology. Ridley Scott positions the human body as a site of transformation and vulnerability in the future, simultaneously making our familiar anatomy foreign, and suggesting that our technological feats may soon outpace our physical capacity. The motifs of evolution, reproduction and violent transformation are leylines in these three films, presenting visions of the future in which human biology is no longer the pinnacle of nature’s innovations but a fecund ground for more advanced life--either as hosts for alien forms, or as the creators of artificial intelligences (AI) and synthetic life.Film studiesjll2197History, FilmReportsFor a Pythagorean, posthumanist, transcendental cinema: An Analysis of Michelangelo Frammartino's Le quattro voltehttp://academiccommons.columbia.edu/catalog/ac:177781
Gimenez Cavallo, Mariahttp://dx.doi.org/10.7916/D8KD1WH9Wed, 01 Oct 2014 00:00:00 +0000How does Frammartino's "Le quattro volte," a minimalist-seeming narrative with hardly any dialogue, no single protagonist, and without a focus on humans, manage to connect with viewers on such a profound level? The film follows an old man, a goat, a tree, and a piece of charcoal, successfully creating spectator identification beyond the human realm. The film raises the stakes for how we interact as individuals with the material world by showing the existence of the animals and minerals that are hardly ever given a voice in media. The idea for the film stems from the Ovidean (and Pythagorean) conception of the interchangeable relation between humans and animals, showing the transference of the soul through the technique of montage. Frammartino starts with a base in Greek philosophy and the Italian traditional ways of life in order to question the post-human in the contemporary era and to present a truly universal film transcending language, time, and species. The political implications of these filmic aspects are explored through the theories of Cesare Zavattini, Paul Schrader, and André Bazin. By aesthetically and narratively decentralizing humans, Frammartino reveals Being and makes the invisible visible on the screen. This essay will use a phenomenological lens to uncover the transcendental aspects of Le quattro volte, analysing how Frammartino uses film language to convey a Pythagorean posthumanism to present the unseen world.Film studiesItalianUndergraduate thesesGlorifying the Jewish-American Girl: Fanny Brice, Funny Girl, and “The Streisand Phenomenon”http://academiccommons.columbia.edu/catalog/ac:176271
Strycula, Alexandrahttp://dx.doi.org/10.7916/D8251GCGWed, 06 Aug 2014 00:00:00 +0000Rarely has there been a marriage of actress-and-role as lasting and profound as that of Barbra Streisand and her career-defining performance as Fanny Brice in the stage and film versions of Jule Styne and Bob Merrill’s Funny Girl. How and why, though, did Streisand’s associations with both the role and real life persona of Fanny Brice come to be so strong? The enduring “phenomenon” surrounding Streisand’s original performance in Funny Girl has cultivated a stigmatic “shadow” that has followed all subsequent presentations of the show since its debut on Broadway in 1964 and its 1968 film adaptation, augmented by Streisand’s novel presentation of a distinctly kooky, ethnic rebellion against the fear-induced conformity of early 1960s America – one that ultimately became a symbol of ethnic pride for an entire generation of Jewish Americans and beyond. Streisand’s performance came to be conflated with an urban, working-class sect of Brooklynites and promoted fantasies of class mobility and ethnic inclusiveness for an American-born generation of immigrants’ children during a time of deep identity contemplation in the United States. This trend also coupled with the star-making nature of the show’s leading role to allow Streisand to claim Brice’s journey to fame as her very own. By analyzing reviews, highlighting case studies of several contemporary productions of Funny Girl from the past 20 years, and interpolating secondary source material from scholars of musical theatre as well as Jewish identity, this piece explores the far-reaching cultural and ethnic associations between Fanny Brice and Barbra Streisand within the context of how notions of “being American” have evolved from Fanny Brice's era until the present day, as well as in relation to the constraints that have surrounded Jewish female celebrity in mainstream American culture since the early twentieth century. It also discusses the challenges that such associations have posed to casting directors and producers of topical incarnations such as the recently scrapped 2012 Broadway revival helmed by producer Bob Boyett. Streisand’s lasting legacy as a symbol of ethnic and cultural pride ultimately implies that theatre-makers may simply have to wait until the infiltration of an entirely new generation of ticket-buyers for which Streisand’s alliance with Fanny Brice means little to nothing. Although such a generation is beginning to shape, especially with Ryan Murphy’s recent acquisition of Funny Girl’s rights and an extended storyline about a fictionalized revival of the show on FOX's Glee, I ultimately argue that the pervasive ethnic and cultural associations of Streisand’s initial performance – now deeply embedded with the show itself – will likely endure for years to come.Theater, Film studies, American studiesas3766American Studies (Barnard College)Undergraduate thesesSirens and Flames: The Short Films of João Pedro Rodrigues and João Rui Guerra da Matahttp://academiccommons.columbia.edu/catalog/ac:172801
Weaver, James Richardhttp://dx.doi.org/10.7916/D8NP22H4Wed, 09 Apr 2014 00:00:00 +0000“I’m so sure that my love will survive, because you thrill me, because you kill and keep me so alive.” So sings the beguiling nightclub performer Julie Benson (Jane Russell) in Josef von Sternberg and, following Howard Hugh’s termination of the German auteur’s contract, Nicholas Ray’s 1952 film noir Macao. This sultry ode to Eros and Thanatos also opens Portuguese filmmakers João Pedro Rodrigues and João Rui Guerra da Mata’s presumably less fraught co-directorial feature début, The Last Time I Saw Macao (2012). Transgender performer Candy (Cindy Scrash), clad in a form-fitting metallic cheongsam, a traditional Chinese dress glamourized by Anna May Wong in another of von Sternberg’s sojourns to the Far East, Shanghai Express (1932), lip-synchs Russell’s song as she saunters about a stage populated with live lions. This scene is the only time voice and body come close to being unified in The Last Time I Saw Macao; the film’s unseen, but tellingly named, narrator Guerra da Mata (voiced by the director, himself), along with a series of phone calls and evocative off-screen sounds transform the largely motionless, almost ethnographic, tableaus of this port city into a riveting potboiler. But our willingness to connect the stories we hear with the images we see, much like Candy’s appropriation of the dead sex symbol’s song, is only possible through what Michel Chinon calls synchresis, cinema’s unique ability to forge relationships between the oral and visual. One part Chris Maker, one part James Bond, a twist of cinephilia, strained through a uniquely Portuguese lens, The Last Time I Saw Macao marks a significant stylistic break for Rodrigues, who has been making films since the late-90’s, and it also gestures toward the emerging aesthetics of Guerra da Mata’s promising solo directorial work, As The Flames Rose (2012). Lyrics about the love that thrills and kills are easy listening oxymorons -- barely registered as such. But as multiple sites of seeming oppositions -- between voice and body, onscreen and off screen presences, male and female bodies, Asia and Europe, colonialism and contemporaneity, space and time, documentary and fiction -- abut and layer on each other, boundaries dissolve and the film moves from a quest for someone to a map of something. That something is an historical palimpsest whose very indecipherability portends an uncertain future.Film studiesjrw2183FilmReportsInner Landscapes' of the Hallucinatory: Intertextuality and Rebirth in Herzog’s 'Nosferatu'http://academiccommons.columbia.edu/catalog/ac:172668
Chun, Jeong Yunhttp://dx.doi.org/10.7916/D8NV9GB7Mon, 07 Apr 2014 00:00:00 +0000If Richard Wagner begins with a hallucination of gestures, Werner Herzog begins with a hallucination of landscapes. Central to these points of departure is a certain tension between the material and immaterial, the notional and sensational, the naturally occurring and possibly inspired—polar distinctions first suggested by the term aísthēsis and all revitalized by Herzog’s own film aesthetic.2 To experience Nosferatu – Phantom der Nacht (Nosferatu the Vampyre, 1979) is to feel the seemingly incongruous sense of submersion in an illusory dream concurrent with an unbuckling awareness of the concreteness in what Kracauer calls “the objects and occurrences that comprise the flow of material life.”3 Particularly striking about Herzog’s remake of Friedrich Wilhelm Murnau’s silent film, Nosferatu – Eine Symphonie des Grauens (Nosferatu – A Symphony of Horror, 1922), is the intricate web of formal mechanisms and cross-disciplinary references enabling these polarities to charge with meaning an entrancing filmic world and its landscapes, whose grooves run trickling with water and skylines with mist. Without doubt, water would be the element permeating the cool fabric of the film; the fluidity or mutability emblematic of its very essence mirrors the liminality not only of the vampiric state—“neither dead nor living,” as the saying goes—but also the nature of the film itself as a remake whose conspicuous intertextuality seems to indicate the acuity of a visionary’s consciousness. Moreover, it marks an assured step towards a timely revalidation of the cultural inheritance of a country whose recent past evinces the shattering consequences of organized man branded by brutality and inculcated with ideology.Film studiesjy2434FilmReportsWomen Film Pioneers Project (WFPP): Presentation at Coalition for Networked Information, Fall Forum 2013http://academiccommons.columbia.edu/catalog/ac:171003
Newton, Mark P.; Harvell, J. Hugh ; Williams, Leyla S.http://dx.doi.org/10.7916/D8GB223RMon, 24 Feb 2014 00:00:00 +0000The Women Film Pioneers Project (WFPP), published October 2013, is an online scholarly resource several years in development that expands on the unheralded biographies of women in the silent film industry (http://wfpp.cdrs.columbia.edu). Initially conceived as a collection of solicited essays and profiles for publication as a multi-volume reference work with a university press, WFPP became an online-only resource published in partnership with the Center for Digital Research and Scholarship (CDRS), a unit of the Columbia University Libraries/Information Services. The WFPP breaks convention for scholarly publication in a number of significant ways, particularly by setting itself up as a living resource, with content that can be both cited and augmented by its readership. Such expectations for the project have challenged its editors to think critically about translating scholarship for an online audience and have challenged the design and development team to make some difficult decisions around presentation and infrastructural support. The result of the publishing partnership has yielded an interesting case study around university library publishing and scholarship support programs, with supplementary considerations around the appetite for nontraditional publications from university faculty. The presenters, all members of the CDRS-based project team, propose secondary narratives around the publication of WFPP: that of the effects of adapting content-appropriate presentational approaches to online scholarship and of the impact of social media marketing as applied to library-based publishing activities. The design and development choices for the project have manifested an observable positive reception to the work. An early beta release of WFPP for debut at a film studies conference ignited grassroots viral promotion over Twitter. The resultant coverage in the popular press prior to the formal project launch indicates the translational quality of the research itself and offers the project team the opportunity to reflect upon aspects of the project activities across design and marketing that led to its unique successes. The presenters thus propose to engage attendees around multiple themes, examining the processes of development in partnership to draw some inferential conclusions around potential for translational scholarship in nontraditional publishing scenarios and the unique suitability of the university library’s digital scholarship support center to act as publishing partner.Communication, Information technology, Film studies, Women's studiesmpn2115, jh3124, lsw2119Center for Digital Research and ScholarshipPresentationsThere’s No Business Like Show Business: The Legal Implications of Hollywood’s “New Math” and Its Impact on Unsuspecting Artistshttp://academiccommons.columbia.edu/catalog/ac:170589
Hampton, Parishttp://dx.doi.org/10.7916/D84M92KBFri, 14 Feb 2014 00:00:00 +0000"According to standard Hollywood practice, Buchwald or any other writer is not promised a share of the true profits in a contract. Royalties to writers and other creative people under contract are paid out only after the movie company deducts from gross revenue their distribution fees (a percentage based on what the company thinks is appropriate—usually about 30 percent) leaving an adjusted gross revenue. Against roughly 70 percent of the revenues the studios apply 100 percent of the costs for purpose of determining the participation rights of writers and performers. Because there are essentially two categories created by this accounting system (what the studio makes and what the film makes), the studios profit handsomely while the film shows a loss —meaning no royalties for actors, directors, and writers. Using this formula, Paramount could claim that Coming to America, the second-highest grossing movie in 1988, was $18,000 in the red and would never show a profit. This calls into question whether the system that is being used in the drawing up of movie contracts is fair and equitable."--from pages 33Economics, Commerce-Business, Film studies, Intellectual propertyHelvidius GroupArticlesPositively Anti-Realist: Art, Artifice, and the Power of Fiction in the Films of Pedro Almodóvarhttp://academiccommons.columbia.edu/catalog/ac:168781
Cooper, Anneliesehttp://dx.doi.org/10.7916/D81Z42BTThu, 16 Jan 2014 00:00:00 +0000Since his career began in 1978, writer/director Pedro Almodóvar has become one of modern cinema’s most prodigious and recognizable auteurs. Though his oeuvre spans decades, with eighteen full-length films and many awards and accolades (including two Oscars) to his name, all of his films seem to bear certain signature stylistic traits: bright colors, strong female characters, melodramatic tone and plot twists, celebration of queer sexuality--even a cadre of recurring performers (including current household names Antonio Banderas and Penélope Cruz, both of whom owe their success in large part to roles in Almodóvar’s early films). However, beyond these somewhat superficial similarities, there seems to be a deeper uniting thematic trend that spans his body of work: regardless of the specific circumstances of his films’ plotlines, Almodóvar proves himself time and time again to be a creator obsessed with the process of artistic creation. His films repeatedly focus attention on the borderline between reality and artifice, fact and fiction--and show it to be permeable and difficult to maintain. Indeed, many of his films--such as Law of Desire (1987), Bad Education (2004), and Broken Embraces (2009)--explicitly chronicle the travails of filmmaker protagonists and thereby engage directly in the practice of metafilm, implicitly (sometimes, even explicitly) laying bare the inner workings of their own cinematic construction. This somewhat jarring process necessarily forces the viewer to recognize the suspension of disbelief required to engage with film--to reconcile the undeniably artificial nature of what one is seeing with the extent to which it is still affecting. Moreover, even in films of his that don’t explicitly explore the process of filmmaking--for example, All About My Mother (1999), Talk to Her (2002), and his most recent output, The Skin I Live In (2011)--Almodóvar still seems intent on investigating the influence of art, whether by including explicit references to (or even clips from) other films, or by foregrounding other artistic practices, such as theater, dance, and sculpture. In each case, Almodóvar showcases the ways in which artifice can have a direct and powerful influence on the “reality” of each film’s diegesis; performance, deception, and the production of art are all central to the stories he seeks to tell. One might even term Almodóvar’s films “positively anti-realist,” as theorist Paul Burston does in his essay “Genre Bender,” in that his films constitute “a world which regularly draws attention to its own construction” (143). Indeed, by commenting so frequently on the ways in which art affects life, Almodóvar seems intent on breaking down the presumed hierarchy that privileges reality over artifice, even on destabilizing the very notion of “reality” altogether. Ultimately, Almodóvar’s films represent a collective ode to the power of fiction--a recognition that, in many cases, art can be more “real” than reality, or at the very least equally as relevant.Film studiesabc2161FilmReportsA Conversationhttp://academiccommons.columbia.edu/catalog/ac:162694
Ahmed, Manan; Punathambekar, Aswin; Chopra, Rohithttp://hdl.handle.net/10022/AC:P:20849Thu, 27 Jun 2013 00:00:00 +0000A conversation about an essay on future South Asia in Seminar 632, April 2012South Asian studies, Film studiesma3179HistoryLettersImagining New Politics: Geography and Sexuality in Wedding in Galilee and Season of Migration to the Northhttp://academiccommons.columbia.edu/catalog/ac:161174
Faulkner, Rebecca Lynnhttp://hdl.handle.net/10022/AC:P:20340Wed, 15 May 2013 00:00:00 +0000Wedding in Galilee (1987) and Season of Migration to the North (1966) exemplify the use of geography and sexuality as aesthetic expressions of political conditions. In order to imagine new politics—in this case, in Sudan and Palestine—one must be in between the remembered past and the imagined future. In this film and novel, geography and sexuality are used to explore what it is like to be-in-between, and thereby they help show the process of imagining new politics. In other words, geography and sexuality comment on the process of political remembering and imagining in each work through the theme of liminality.Middle Eastern studies, Middle Eastern literature, Film studiesrlf2130Middle Eastern, South Asian, and African StudiesReportsMakino Mamoru and Film Theory: The Case of Nakagawa Shigeakihttp://academiccommons.columbia.edu/catalog/ac:156167
Gerow, Aaronhttp://hdl.handle.net/10022/AC:P:18927Mon, 04 Feb 2013 00:00:00 +0000Presentation: "Makino Mamoru and Film Theory: The Case of Nakagawa Shigeaki" by Aaron Gerow, Associate Professor, Film Studies Program/East Asian Languages and Literatures, Yale University. Makino Collection Symposium Panel 2: "The Makino Collection and Early Japanese Cinema" Symposium: "The Makino Collection at Columbia: the Present and Future of an Archive." On November 11, 2011, Columbia University held its first daylong symposium to examine research in the field of Japanese film studies emerging from the rich holdings of the Makino Mamoru Collection on the History of East Asian Film (Makino Collection). The event was hosted by the Weatherhead East Asian Institute, C.V. Starr East Asian Library, Department of East Asian Languages and Cultures, the Donald Keene Center of Japanese Culture, and the School of the Arts -- Film Division.Asian studies, Film studiesStarr East Asian LibraryConferencesDestination Japan: The Personal Collection as Alternative Archivehttp://academiccommons.columbia.edu/catalog/ac:156170
Bernardi, Joanne http://hdl.handle.net/10022/AC:P:18930Mon, 04 Feb 2013 00:00:00 +0000Presentation: "Destination Japan: The Personal Collection as Alternative Archive" by Joanne Bernardi, Associate Professor, Modern Languages and Cultures Department, University of Rochester. Makino Collection Symposium Panel 2: "The Makino Collection and Early Japanese Cinema," Symposium: "The Makino Collection at Columbia: the Present and Future of an Archive." On November 11, 2011, Columbia University held its first daylong symposium to examine research in the field of Japanese film studies emerging from the rich holdings of the Makino Mamoru Collection on the History of East Asian Film (Makino Collection). The event was hosted by the Weatherhead East Asian Institute, C.V. Starr East Asian Library, Department of East Asian Languages and Cultures, the Donald Keene Center of Japanese Culture, and the School of the Arts -- Film Division.Asian studies, Film studiesStarr East Asian LibraryConferencesJapanese Female Director Sakane Tazuko, the Manchurian Film Association, and Archival Materials for Japanese Colonial Filmshttp://academiccommons.columbia.edu/catalog/ac:156179
Ikegawa, Reiko http://hdl.handle.net/10022/AC:P:18931Mon, 04 Feb 2013 00:00:00 +0000Presentation: "Japanese Female Director Sakane Tazuko, the Manchurian Film Association, and Archival Materials for Japanese Colonial Films" by Adjunct Lecturer, Jissen Women’s University and Otsuma Women’s University. Makino Collection Symposium Panel 1: "The Makino Collection, Film Archives, and East Asian Cinema," Symposium: "The Makino Collection at Columbia: the Present and Future of an Archive." On November 11, 2011, Columbia University held its first daylong symposium to examine research in the field of Japanese film studies emerging from the rich holdings of the Makino Mamoru Collection on the History of East Asian Film (Makino Collection). The event was hosted by the Weatherhead East Asian Institute, C.V. Starr East Asian Library, Department of East Asian Languages and Cultures, the Donald Keene Center of Japanese Culture, and the School of the Arts -- Film Division.Asian studies, Film studiesStarr East Asian LibraryConferencesAspects of Small-Gauge Film Culture in Prewar Japanhttp://academiccommons.columbia.edu/catalog/ac:156146
Tomita, Mika http://hdl.handle.net/10022/AC:P:18918Mon, 04 Feb 2013 00:00:00 +0000Presentation: "Aspects of Small-Gauge Film Culture in Prewar Japan" by Professor Mika Tomita. Mika Tomita is Associate Professor, College of Image Arts and Sciences, Ritsumeikan University Makino Collection Symposium Panel 3: "The Makino Collection and Documentary Film" Symposium: "The Makino Collection at Columbia: the Present and Future of an Archive." On November 11, 2011, Columbia University held its first daylong symposium to examine research in the field of Japanese film studies emerging from the rich holdings of the Makino Mamoru Collection on the History of East Asian Film (Makino Collection). The event was hosted by the Weatherhead East Asian Institute, C.V. Starr East Asian Library, Department of East Asian Languages and Cultures, the Donald Keene Center of Japanese Culture, and the School of the Arts -- Film Division.Asian studies, Film studiesStarr East Asian LibraryConferencesArchive Phobia: Korean Cinema and its Colonial Pastshttp://academiccommons.columbia.edu/catalog/ac:156173
Hughes, Theodore Q.http://hdl.handle.net/10022/AC:P:18932Mon, 04 Feb 2013 00:00:00 +0000Theodore Hughes is The Korea Foundation Association Professor of Korean Studies in the Humanities, the Department of East Asian Languages and Culture, Columbia University Makino Collection Symposium Panel 1: "The Makino Collection, Film Archives, and East Asian Cinema" Symposium: "The Makino Collection at Columbia: the Present and Future of an Archive." On November 11, 2011, Columbia University held its first daylong symposium to examine research in the field of Japanese film studies emerging from the rich holdings of the Makino Mamoru Collection on the History of East Asian Film (Makino Collection). The event was hosted by the Weatherhead East Asian Institute, C.V. Starr East Asian Library, Department of East Asian Languages and Cultures, the Donald Keene Center of Japanese Culture, and the School of the Arts -- Film Division.Asian studies, Film studiesth2150Starr East Asian Library, East Asian Languages and CulturesConferencesPaul Rotha/Pōru Rūta and the Politics of Translationhttp://academiccommons.columbia.edu/catalog/ac:156158
Nornes , Abé Mark http://hdl.handle.net/10022/AC:P:18916Mon, 04 Feb 2013 00:00:00 +0000Presentation: "Paul Rotha/Pōru Rūta and the Politics of Translation" by Professor Abé Mark Nornes. Abé Mark Nornes is Chair of the Department of Screen Arts and Culture and Professor in Asian Languages and Cultures, University of Michigan Makino Collection Symposium Panel 3: "The Makino Collection and Documentary Film" Symposium: "The Makino Collection at Columbia: the Present and Future of an Archive." On November 11, 2011, Columbia University held its first daylong symposium to examine research in the field of Japanese film studies emerging from the rich holdings of the Makino Mamoru Collection on the History of East Asian Film (Makino Collection). The event was hosted by the Weatherhead East Asian Institute, C.V. Starr East Asian Library, Department of East Asian Languages and Cultures, the Donald Keene Center of Japanese Culture, and the School of the Arts -- Film Division.Asian studies, Film studiesStarr East Asian LibraryConferencesOnoe Matsunosuke and Materials Related to the Film, Chushingura (The Royal Forty-seven Ronin) in the Makino Mamoru Collectionhttp://academiccommons.columbia.edu/catalog/ac:156164
Oya, Atsuko http://hdl.handle.net/10022/AC:P:18925Mon, 04 Feb 2013 00:00:00 +0000"Onoe Matsunosuke and Materials Related to the Film, Chūshingura (The Royal Forty-seven Ronin) in the Makino Mamoru Collection" by Dr. Atsuko Oya.Asian studies, Film studiesStarr East Asian LibraryConferencesGenealogies of the Citizen-Devotee: Popular Cinema, Religion and Politics in South Indiahttp://academiccommons.columbia.edu/catalog/ac:147599
Bhrugubanda, Uma Maheswarihttp://hdl.handle.net/10022/AC:P:13408Wed, 06 Jun 2012 00:00:00 +0000This dissertation is a genealogical study of the intersections between popular cinema, popular religion and politics in South India. It proceeds with a particular focus on the discursive field of Telugu cinema as well as religion and politics in the state of Andhra Pradesh from roughly the 1950s to the 2000s. By discursive field of cinema, I refer to not only filmic texts, but also disciplines of film making, practices of publicity, modes of film criticism as well as practices of viewership all of which are an inalienable part of the institution of cinema. Telugu cinema continued to produce mythological and devotional films based mostly on Hindu myths and legends many decades after they ceased to be major genres in Hindi and many other Indian languages. This was initially seen simply as an example of the insufficiently modernized and secularized nature of the South Indian public, and of the enduring nature of Indian religiosity. However, these films acquired an even greater notoriety later. In 1982, N.T. Rama Rao, a film star who starred in the roles of Hindu gods like Rama and Krishna in many mythologicals set up a political party, contested and won elections, and became the Chief Minister of the state, all in the space of a year. For many political and social commentators this whirlwind success could only be explained by the power of his cinematic image as god and hero! The films thus came to be seen as major contributing factors in the unusual and undesirable alliance between cinema, religion and politics. This dissertation does not seek to refute the links between these different fields; on the contrary it argues that the cinema is a highly influential and popular cultural institution in India and as such plays a very significant role in mediating both popular religion and politics. Hence, we need a fuller critical exploration of the intersections and overlaps between these realms that we normally think ought to exist in independent spheres. This dissertation contributes to such an exploration. A central argument this dissertation makes is about the production of the figure of the citizen-devotee through cinema and other media discourses. Through the use of this hyphenated word, citizen-devotee, this study points to the mutual and fundamental imbrication of the two ideas and concepts. In our times, the citizen and devotee do not and cannot exist as independent figures but necessarily contaminate each other. On the one hand, the citizen-devotee formulation indicates that the citizen ideal is always traversed by, and shot through with other formations of subjectivity that inflect it in significant ways. On the other hand, it points to the incontrovertible fact that in modern liberal democracies, it is impossible to simply be a devotee (bhakta) where one's allegiance is only to a particular faith or mode of being. On the contrary, willingly or unwillingly one is enmeshed in the discourse of rights and duties, subjected to the governance of the state, the politics of identity and the logics of majority and minority and so on. Religion as we know it today is itself the product of an encounter with modern rationalities of power and the modern media. Hence, we cannot simply talk about the citizen or the devotee, but only of the modern hybrid formation, the citizen-devotee. The first full length study of the Telugu mythological and devotional films, this dissertation combines a historical account of Telugu cinema with an anthropology of film making and viewership practices. It draws on film and media theory to foreground the specificity of these technologies and the new kind of publics they create. Anthropological theories of religion, secularism and the formation of embodied and affective subjects are combined with political theories of citizenship and governmentality to complicate our understanding of the overlapping formations of film spectators, citizens and devotees.South Asian studies, Film studies, ReligionAnthropology, History, Office of the Executive Vice President for Arts and SciencesDissertations嬗变中的当代中国独立电影及其海外收藏http://academiccommons.columbia.edu/catalog/ac:145097
Cheng, Jimhttp://hdl.handle.net/10022/AC:P:12729Mon, 05 Mar 2012 00:00:00 +0000本文阐述了当代中国独立电影的定义，时代背景，发展状况，及其表现的题材内容轮廓，同时介绍了海外大学图书馆对中国独立电影的收藏概况，尤其是对加州大学圣地亚哥分校图书馆的中国独立电影收藏的范围，原则，内容，格式，使用作了详细的叙述。Asian studies, Film studies, Library sciencejc3685Starr East Asian Library, Libraries and Information ServicesArticlesCemetery Clubhttp://academiccommons.columbia.edu/catalog/ac:145094
Booth, Geoffreyhttp://hdl.handle.net/10022/AC:P:12727Mon, 05 Mar 2012 00:00:00 +0000Thesis Binder all about the film production of The Cemetery Club; includes: Producer’s statement, Director’s Statement, Script, Schedule, Budget, Cast Contact List, Crew Contact List, Locations Attachments, and Equipment Quotes.Film studiesgb2175FilmMaster's theses